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Acknowledgments The research on which we base this study was funded by a Senior Collaborative Research Grant from the Getty Grant Program in 1995–96, permitting us to engage in interdisciplinary discussion and interpretation, and by a Fellowship for University Teachers awarded by the National Endowment for the Humanities to Joanne Rappaport in 2000–2001. Work on the book was completed under a National Endowment for the Humanities fellowship at the National Humanities Center, awarded to Joanne Rappaport in 2002–3.The archival documentation used in our analysis was collected by Joanne Rappaport under a Grant-in-Aid from theWenner-Gren Foundation for Anthropological Research in 1989 and with Designated Research Initiative Funds from the University of Maryland Baltimore County in 1990, and by Tom Cummins during a sabbatical year from the University of Chicago in 2002. The Graduate School of Georgetown University, as well as Harvard University, provided the funding necessary to permit the reproduction of color images in this publication, for which we are grateful. Thanks go to the directors of the archives we consulted, especially to Grecia Vasco de Escudero, director of the Archivo Nacional del Ecuador, and Jorge Isaac Cazorla, former director of the Archivo Histórico del Banco Central del Ecuador in Ibarra. Thanks also to Cristóbal Landázuri, director of marKa—Instituto de Historia y Antropología Andina (Quito), and his students, for collaboration in the collection of archival materials and for the pleasure of a continuing dialogue over the past two decades.We are indebted to Mercedes López for her assistance in the collection of historical documentation on the Muisca in the Archivo General de la Nación and the Biblio- xvi • • • acKnowledgmentS teca Nacional de Colombia in Bogotá. We also appreciate the generosity of Rodolfo Vallín Magaña and Luis Gonzalo Uscátegui, for providing us with photos of the reconstructed murals of Sutatausa, and to Elías Sevilla Casas and Carlos Miguel Varona for the photo of the shaft tomb in Tierradentro. José Ramón Jouvé-Martín assisted us in converting microfilms from Ibarra into computer files, for which we are thankful. The following individuals engaged us in fruitful conversation around the issues of colonial culture and indigenous literacy: Vincent Barletta, Kathryn Burns,MélidaCamayo,CarolinaCastañeda,QuetzilCastañeda,AliciaChocué, Joanne Moran Cruz, Carolyn Dean, Sarah Fentress, Michael Gerli, Bill Hanks, José Ramón Jouve-Martín, Walter Mignolo, Dana Leibsohn, Mercedes López, Frederick Luciani, Sabine MacCormack, Bruce Mannheim, Bruno Mazzoldi , Abelardo Ramos, Verónica Salles-Reese, Frank Salomon, Greg Spira, Gary Urton, and Marta Zambrano. We have benefited by the commentaries of the Georgetown University Standing Seminar in History and the students in “Alphabetic and Visual Literacy in Colonial Latin America” at Georgetown University in 1997 and 1999, the University of Chicago in 1999, and Harvard University in 2002, as well as from exchanges with the students of the Licenciatura en Pedagogía Comunitaria of the Consejo Regional Indígena del Cauca and anthropology students of the Universidad de Buenos Aires. Readings and critical commentary on selected chapters by Kalman Bland, Kathryn Burns, Gail Gibson, Paul Griffiths, Adam Jasienski, and Moshe Sluhovsky were helpful for uncovering the significance of our project beyond the Andes and Latin America.We are particularly grateful to Carolyn Dean and to the other reviewers for Duke University Press, who remain anonymous, for their suggestions. Valerie Millholland of Duke University Press has helped to make this book a reality, providing along the way not only crucial assistance, but highly valued friendship. We also would like to thank Gisela Fosado for her help making sense of all the images and Sonya Manes for her patient and precise copyediting, as well as Adam Jasienski for preparing the index. Portions of chapter 1 were included in a review essay for Ethnohistory, volume 49, number 3, pp. 687–701 (2002): “Imagining Colonial Culture.” Chapter 5 was published in a slightly altered version in Colonial Latin American Review, volume 7, number 1, pp. 7–32 (1998) under the title, “Between Images and Writing: The Ritual of the King’s Quillca.” Chapter 6 was published in a different version in Latin American Literary Review, volume 26, number 52, pp. 174–200 (1998) as “The Reconfiguration of Civic and Sacred Space: Architecture, Image, and Writing in the Colonial Northern Andes.” ...

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